We're back! After a chilly summer hiatus, the Free Concert Series in
the Richard Bradshaw Amphitheatre returns for its 2014/2015 season today
with an always popular performance by artists of the COC
Ensemble Studio. Their performance is just one of many highly anticipated concerts this
September and October. Here are five more concerts that you won't want
Posted by Kristin McKinnon / in Free Concert Series / comments (0) / permalink
By Gianmarco Segato, Adult Programs Manager
For Episode 27, the “Money Talks” edition, we welcome back arts journalist Catherine Kustanczy, Opera Canada editor,Wayne Gooding, and Jenna Douglas, a Toronto-based collaborative pianist and author of the opera blog, Schmopera. Gianmarco Segato, the COC’s Adult Programs Manager, is your host.
The MET and their chorus and orchestra unions have resolved matters, compromises coming from both sides — but will external financial monitoring work?
Mezzo soprano Jennifer Rivera’s eloquent take on the MET chorus salary controversy… it’s not that they get paid too much but that singers in general are paid much too little.
Another opera singer, Valerian Ruminski, gets into trouble with questionable comments on social media – the group shares their thoughts.
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Posted by Meighan Szigeti / in The Big COC Podcast / comments (0) / permalink
Puccini’s Madama Butterfly is generally considered one of the greatest works to emerge from the Italian verismo movement – that is, the short, concentrated period in operatic history which lasted from just 1892 (the premiere of Catalani’s La Wally) through 1926 (when Puccini’s Turandot marked its end). Verismo was the Italian response to the naturalist movement that originated in French literature, notably in the working-class milieus presented by Émile Zola and Guy de Maupassant. Italy found its equivalent in Giovanni Verga, author of the short story Cavalleria rusticana on which composer Pietro Mascagni based his 1890 verismo-defining opera of the same title.
Despite its origins in “realism” with stories based on contemporary, working-class life, the operatic iteration of the verismomovement soon shifted focus to explore more diverse subject matter which embraced the “exotic.” Consider this list of verismoheroines who emerged in the decades after 1892: noblewomen (Giordano’s Fedora; Cilea’s Gloria; and, the nobly born nun Angelica in Puccini’s Suor Angelica); courtesans (Stephana in Giordano’s Siberia; Puccini’s Magda in La rondine) and "oriental waifs" (Mascagni’s Iris and Puccini’s Liù in Turandot). So, it is an oversimplification to view verismo opera as dealing solely in subjects drawn from tawdry newspaper headlines (as did Verga’s and Mascagni’s Cavalleria rusticana). The proof is in Madama Butterfly, only the most famous example of how composers of this era, including Mascagni, strove to constantly expand and refine their art, searching for new and original subject matter to include such (then) “exotic” cultures like Japan’s.
Posted by Kiersten Hay / in Madama Butterfly / comments (0) / permalink
Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001